TCG Books

By combining literary and dramatic narrative with eye-witness accounts of Sasquatch encounters culled from the internet, The Securely Conferred, Vouchsafed Keepsakes of Maery S. reinvents as many versions of the Frankenstein author Mary Shelley as there are definitions of the word “Gothic.” In this work, a string of financial, maternal, and familial misfortunes causes Shelley—referred to in this production as Maery S.—to spawn a monstrous creative expression, which takes on its own life and violent history. Maery cannot help but fall  in love with her Monster, only to see it “collected” and imprisoned by charitable funding at a mandatory artists’ residency.

Trained in classical piano and Marxism and raised on jazz, gospel, pop, hip hop, and Black revolutionary politics, Pulitzer Prize finalist Eisa Davis’s plays are marked by her stunning intimacy with the praxis of music alongside radical change. In Angela's Mixtape, time shifts like a mixtape, and like a mixtape, the play is both a memoir and a gift—for us, of course, and for Davis’s aunt, activist and scholar Angela Y. Davis, under whose tutelage Davis reads Das Kapital and learns to drive stick and hack her own way toward inheriting her legacy. In The History of Light, Davis counterpoints the intertwining fates of two couples under racialized pressures a generation apart. Lush with the sound of the grand piano, The History of Light is a study in black and white, love and alienation. Underlying the political clarity and formal virtuosity of Davis’s writing are the unexpected crackles of a voice warming up, the crunchiness of missed notes. Because for an artist concerned, like Davis, with how we become who we are and might be, error is a necessary instrument—maybe the sounding weight.

David Neumann/Advanced Beginner Group’s I Understand Everything Better is a "deeply felt and deeply moving" (New York Times) performance piece, a multi-disciplinary, dance-based work that explores the impulse to report on calamity, the shimmer of attention to realms unseen, and the evidence of the body as possessing a will to let go of living.

Emerging from a year in which David Neumann lost both his mother and father, I Understand Everything Better documents a process of dying, and how the altered attentiveness of the dying and those who care for them can invite a complex layering of now and then, here and there, living room and mountain road. The text draws on Neumann’s accounts of his father’s final days as well as Noh theater, the Kyogen play Boshibari, Shakespeare’s King Lear, transcripts of live weather reporting (mostly during hurricanes), and interviews with end-of-life caregivers, doctors, and meteorologists.

Advanced Beginner Group’s 2015 production—winner of two Bessie awards for Outstanding Production and Outstanding Sound Design—includes text by David Neumann and Sibyl Kempson. Edited and designed by Karinne Keithley Syers with photography by Maria Baranova, this volume is an elegant, richly layered record of a rigorously collaged, collaborative performance that was itself a record of a storm.

Collecting Daniel Alexander Jones's plays and performance texts Bel Canto, Black Light, Blood:Shock:Boogie, clayangels, Duat, Phoenix Fabrik, and The Book of Daniel, this volume offers a panoramic view of Jones's shifting, glimmering, transformational body of work. Each play a provocation to the possibility of a more just world with love as civic practice at its center, Jones's writing moves with lithe and associative grace through histories personal, political, cosmological, and sublime. A reunion not only of Jones's revolutionary work in the course of twenty-five years in the avant-gardes of New York, Austin, and Minneapolis, among others, Love Like Light is also a reunion of collaborators and friends, featuring essays by Vicky Boone, Jacques Colimon, Eisa Davis, Omi Osun Joni L. Jones, korde arrington tuttle, Aaron Landsman, Deborah Paredez, and Shay Youngblood and an interview with Faye Price.

Awarded the 2021 PEN/Laura Pels Theater Award for his expansive, multidisciplinary, radical body of work, Jones has, in the words of judges Jeremy O. Harris, Ruben Santiago-Hudson, and Leigh Silverman, “continued perfecting a dramaturgy all his own based in the traditions of Africana studies, performance studies, queer theory, and mysticism, challenging established traditions while creating space for audiences to ponder what theater is and who it is for.”

A companion volume, Particle and Wave, features a book-length conversation between Daniel Alexander Jones and poet, scholar, and activist Alexis Pauline Gumbs about Love Like Light and the way that love, like light, suffuses everything and is the condition and power of change in the world.

A small but successful security company staffed with former actors has been hired to protect a certain precious theater curtain – and whatever mystery it conceals behind it.

But things are about to get out of hand as the guards find themselves infiltrated by a rival security company composed of ex-ballet dancers, who are not only artistically more up to date, but also faster and cheaper, and who want to take over this important gig at any cost.

In the end, as always in this contemporary world – where all conflicts are resolved through violence and cannibalism – life plays its fickle games of friendship, love, betrayal, and finally, we hope, redemption. No President is a story ballet of enlightenment in two immoral acts from the internationally acclaimed Nature Theater of Oklahoma.

An anthology of six new plays written in Arabic, published here in English translation. Including five plays selected from over 500 submissions to Masrah Ensemble’s 2021 Open Call and one by Masrah Ensemble’s former playwright-in-residence, these six texts—by Yasser Abu Shaqra, Arzé Khodr, Rim Mejdi, Wael Qaddur, Nasr Sami, and Leila Tubal—represent a diverse array of voices and styles, and push at the limits of theatrical form and public discourse. The volume features an introduction by theater writer/director/academic Hanan Qassab Hassan along with short introductions to the plays by US-based playwrights Lucas Baisch, Jess Barbagallo, Agnes Borinsky, Nazareth Hassan, Kristen Kosmas, and Haruna Lee.

Ruby by Leila Tubal (Tunisia)

Translated by Hisham Ben Khamsa, with an introduction by Haruna Lee

A rhythmic monologue, lyrical and dark, in which a woman unpacks a life of misogyny and violence as she prepares to meet her daughter for the first time.

Braveheart by Wael Qaddur (Syria)

Translated by Clem Naylor, with an introduction by Lucas Baisch

A play about a group of friends writing a novel together, in which relationships collapse and get rebuilt through the act of writing. How do you move out of a state of war into a time of presumed stability?

Eternity by Rim Mejdi (Morocco)

Translated by Melanie Magidow and Caline Nasrallah, with an introduction by Kristen Kosmas

A young woman is stuck on a train, and just wants to get off. An allegorical knot of a play that moves between liveness and video, vernacular and formal Arabic, with interludes from Rimbaud's French.

Sometimes We Remember by Arzé Khodr (Lebanon)

Translated by Clem Naylor, with an introduction by Nazareth Hassan

A Fornesian diamond of a play that unfolds in a series of seemingly simple domestic and urban scenes, about the lure of dwelling in memories of war.

Dog and Cat Pizza Chapters by Nasr Sami (Tunisia)

Translated by Sam Kimball, with an introduction by Jess Barbagallo

A dizzying trip into a world of violence and distortion, by way of the Biblical Song of Songs. In which cats are nailed to walls, and two lovers seek to become one.

Unsettled by Yasser Abu Shaqra (Palestine/Syria)

Translated by Zeina Halabi, with an introduction by Agnes Borinsky

A Syrian family arrives as refugees in Europe, where life does not resemble what they imagined. Over the course of the play, each member of the family finds themselves backed deeper and deeper into a corner, and “safety” proves a devil’s bargain.

bull-jean & dem/dey back collects two performance/novels centering Sharon Bridgforth’s southern-Black-butch-sheroe, bull-jean.

First published by RedBone Press in 1998, the Lambda Literary Award-winning the bull-jean stories chronicles the course of lovve returning in the Life-times of bull-dog-jean. Set in the rural 1920s south, the bull-jean stories is an act of griot-anthropology, remembering the ancestor we never knew but always knew we needed—the raucous, sweet-talking, heart-aching wo’mn-lovvn-wo’mn bull-dog-jean and the fierce and beautiful community that surrounds her.

Twenty-two years later, bull-dog-jean returns in bull-jean/we wake. Grieving the loss of their elders, seeking healing, the Narrator calls forward bull-jean. Through a series of dreams, porch prayers, and visitations from cussing conjurers, Black Mermaids, children that fly, and shape-shifting ole folk, bull-jean and dem guide the Narrator towards a realization of the sustaining power of love, memory, community, ritual, and spiritual binding.

Ann and Mary Ann are married. They are both neuroscientists and they both witnessed deeply traumatic events when they were young. Now, in the carefully ordered worlds of their marriage and laboratory—which is linked like the two lobes of the brain—Ann and Mary Ann care for, protect, and reflect one another. But when Ann begins to study Fran, a tile artist who is unable to recognize her husband after he commits an unthinkably violent act, Ann and Mary Ann must reckon with what it really means to see and be present to another person. Ann, Fran, Mary Ann is a deeply reflective, reflecting, refracting play about trauma, God, patterns, and the way they live in our bodies, our minds, and acts of love.

Talk. Transcription. Why are our conversations smarter than our scholarship? Who said that? Is it poets theater if no one hears it? Phonebank is a book of conversation as performance, criticism as a documentary buzz in the party line. It takes off from Zach Savich's A Field of Telephones (published by 53rd State Press in 2025), which takes off from memoir, poetics, Rust Belt regionalism, and the legacies of the poets Lorine Niedecker and Theodore Roethke. Savich is joined by writers Michael Loughran and Caryl Pagel for a tender game of telephone. The best conversations are the ones where midway through somebody’s like, "Whose shirt is this? And how did we get here?" This is a play about talking with friends, and a romp about critical play.

A 2024 New York Times CRITIC'S PICK

Kelly K. Klarkson and Quentavius da Quitter are in love. Kelly K. Klarkson and Quentavius da Quitter skate and smoke and taste one another’s fingers and snort molly and try to pick a name for their rap group. And then there’s their personal demons: Kelly exorcized hers a long time ago, but Quentavius’s is named Lemon Pepper Wings, and she-he-they is the patron demon of the intimate, and they-he-she created pheromones for their her his graduate thesis, and astrology and all the apps, and the concept of independence, and she-he-they force Kelly and Quentavius to face themselves, in an abandoned pool, alone, in the middle of the galaxy. With live skateboarding and original lyrics by Free Fool: Bowl EP.

Rich in swagger, invention, mischief and heat…the crispness and bite of Barbagallo's text is, recursively, a love letter to writing itself. — Time Out NY

The Barry Years includes three plays from writer-director-performer Jess Barbagallo, who has shaped an entire generation of New York theater with his tender haywire wit. My Old Man and Other Stories follows Barry—a forlorn Tom Waits impersonator with a water-stained floor and romance-induced insomnia—through a sequence of episodic scenes featuring emotional incompetents seeking love without compromise. An homage to small-town decay and reduced expectations, My Old Man and Other Stories is at once lambent with unrequited longing and crisp as the mechanics of life. Barry returns in Weekend at Barry’s/Lesbian Lighthouse, a pair of back-to-back episodes of television-as-theater, the second knocked-off from (knocked up by?) the first. Now a forty-something cultural worker whose career-averse lifestyle has led him to a personal and professional dead end, Barry bounces between questionable jobs and even more questionable lovers. In language that is winking, layered, [and] dazzling (Helen Shaw, Vulture), Barbagallo delivers a devastatingly precise and zany send-up of the contemporary art world that teeters on that silver highwire between despair and hilarity. Weekend at Barry's: Greatest Hits—featuring Barry but narrated by Biv, your resident narrator, dreamer, and shit-starter—is kind of like a spin-off. And also a bunch of short stories. Anyway, it asks us to reexamine our formalities, in Biv's words. Learning to love in this way is a form of radicalism because it means that perverse love—that is the love we do against the structures that seek to organize us in brutality—is the only love.

Even now, Donly suggests, there may be a way of living in radical tenderness that will spell a way forward rather than the end of it all. —Kate Dakota Kremer, CultureBot

Two horses in a neigh-scent relationship, a vacant treehouse in need of a tenant, and a human with a grape for a head. In Corinne Donly's buoyant adaptation of Hieronymus Bosch's fifteenth-century triptych The Garden of Earthly Delights, syllables combine to make words and people to make lovers. An elegy to vestiges, a paean to puns, and a theater of peace, Wood Calls Out to Wood pursues Bosch's old paradise through a new alchemy of love, language, and radical tenderness.

A cry in the dark, gentle yet penetrating…sly and sweet, wistful and winsome and altogether lovable. —New York Times

mɔɹnɪŋ [morning//mourning] is a performance text for an experimental opera that tells the story of what would transpire if all humans disappeared from Earth, starting in the present day and moving to 1.6 billion years into the future when life can no longer survive on the planet. Five characters guide the audience through the changes on Earth as forests grow back, new species evolve, and the human-made world erodes away. This work is a fantastical and playful exploration into the dire political and ethical contradictions that structure current human relations with nature.

An anthology of six new plays written in Arabic, published here in English translation. Including five plays selected from over 500 submissions to Masrah Ensemble’s 2021 Open Call and one by Masrah Ensemble’s former playwright-in-residence, these six texts—by Yasser Abu Shaqra, Arzé Khodr, Rim Mejdi, Wael Qaddur, Nasr Sami, and Leila Tubal—represent a diverse array of voices and styles, and push at the limits of theatrical form and public discourse. The volume features an introduction by theater writer/director/academic Hanan Qassab Hassan along with short introductions to the plays by US-based playwrights Lucas Baisch, Jess Barbagallo, Agnes Borinsky, Nazareth Hassan, Kristen Kosmas, and Haruna Lee.

Ruby by Leila Tubal (Tunisia)

Translated by Hisham Ben Khamsa, with an introduction by Haruna Lee

A rhythmic monologue, lyrical and dark, in which a woman unpacks a life of misogyny and violence as she prepares to meet her daughter for the first time.

Braveheart by Wael Qaddur (Syria)

Translated by Clem Naylor, with an introduction by Lucas Baisch

A play about a group of friends writing a novel together, in which relationships collapse and get rebuilt through the act of writing. How do you move out of a state of war into a time of presumed stability?

Eternity by Rim Mejdi (Morocco)

Translated by Melanie Magidow and Caline Nasrallah, with an introduction by Kristen Kosmas

A young woman is stuck on a train, and just wants to get off. An allegorical knot of a play that moves between liveness and video, vernacular and formal Arabic, with interludes from Rimbaud's French.

Sometimes We Remember by Arzé Khodr (Lebanon)

Translated by Clem Naylor, with an introduction by Nazareth Hassan

A Fornesian diamond of a play that unfolds in a series of seemingly simple domestic and urban scenes, about the lure of dwelling in memories of war.

Dog and Cat Pizza Chapters by Nasr Sami (Tunisia)

Translated by Sam Kimball, with an introduction by Jess Barbagallo

A dizzying trip into a world of violence and distortion, by way of the Biblical Song of Songs. In which cats are nailed to walls, and two lovers seek to become one.

Unsettled by Yasser Abu Shaqra (Palestine/Syria)

Translated by Zeina Halabi, with an introduction by Agnes Borinsky

A Syrian family arrives as refugees in Europe, where life does not resemble what they imagined. Over the course of the play, each member of the family finds themselves backed deeper and deeper into a corner, and “safety” proves a devil’s bargain.

You are ushered by your own desire into the belly of our collective dreaming. She is in-situ, waiting, being, exposed. Even venery has its triangulations. If you mix the pigments yourself the colors will be more vibrant—and still, don't you long for a clarion call? I'm going to read to you for a while, and you're going to like it, yes? Turn taking is a part of the game. I want you to eat it. Eat it all.

MILFFEEDSBABYDEER100%Real is a transdisciplinary work intersecting with Dance, Theatre, Performance, Music, and Sculpture generated by a multidisciplinary ensemble led by Marcela Michelle. Taking inspiration from Divisionism, Critical and Queer Theories, Kink Play, and the network of experimental performance being made in the Twin Cities, the work is an exercise in scaffolding for ensemble and is curious about reorienting its named relationship to its makers, be they on the stage or in the audience. Border, boundary, discipline, medium, frame, role, position, vantage, viewpoint, yes, no, no but yes, yes but no, I'll do it for you, I like that you like it. The Book is a script, a collection of scores, collected writings on and around the work, and archival images of previous performances.

To engage with Lieblich’s plays is to become obsessed with how language works, how it works on us, and how we use it to work on others. —Thinking Theater NYC

In Mahinerator, an ambitious bureaucrat, speaking in a quasi-English pseudolect, tells his greatliest life story; a story of the banalation of the evilwise, of vacuumic compressulated ecocide.

The Barbarians is a loggorheic encyclopedic rambunctious gollywompus of a play concerning speech acts, political power, fractal geometry, eusociality, theater, nonsense, aircraft carriers, cell phone networks, Bifröst, My Heart Will Go On, semiotics, pyramids, and picturesque American normalcy.

A composer of language’s skewed longings, these plays by Jerry Lieblich torque and tickle our grammars, taking these jangly, tangling systems as occasions for probing the political structures through which we participate in our and others’ demise.

Can you be Black and not perform?

This is the question of The Essentialisn’t, a conceptual art installation with award-winning writer and performer Eisa Davis singing for her life in a tank of water, or at the piano in a pasture of hair. A transatlantic undrowning which moves from enslavement through the Harlem Renaissance into the diasporic present, the piece interrogates the racial imaginary with an embrace of interiority and innovation, making space for an uncommodified Black feminine practice of sovereignty and liberation.

“The book flinches like a school of fish, a murmuration, a murder nation, my colonizer's baby handprint on a paneled wall in a farmhouse in Ovid, Michigan. The book unearths burial mounds and flattens them into fields. My ancestors removed the bones, and I removed arrowheads from the creek, and I held them to my heart, and I searched the grass for blood, but all I saw was a starling. She hid her eggs in my chest, and when I drifted to sleep I saw black-winged, nameless shadows.

This is the Book of Lily.”

In Faun, Brandi George explores the sudden erasure of human and nonhuman populations from her hometown of Ovid, Michigan. Embodying various voices, forms, and media, a young girl named Lily undergoes a series of transformations guided by nymphs, flora, and fauna. A reworking of Ovid's Metamorphoses, Faun also reflects on the themes of sexual violence that often occur in the mythic.

Pog sprawls on a couch. Gomey stands by a large globe. Pog sits at the counter. Gomey sits at a table. Two broken lawn chairs, center stage. Pog and Gomey listless in these chairs. Pog and Gomey seated, next to each other, but at different tables. Pog dressed as Punch, or Judy. Gomey dressed as Judy, or Punch. Pog, you know. Gomey, too. In chairs, side by side: Pog and Gomey. Left of center, Pog at a lectern. Right of center, Gomey at a lectern. A post-apocalyptic place, no sign of anyone. Pog dressed in bird mask and long iron sheets. Gomey on stilts. Nothing. Nothing. Nothing. The audience almost gets up to leave. A smell of popcorn. Pog puts on a big floppy hat. Gomey is sniffling. Pog, a man, barely. Gomey, another man, also barely.

In their collection of collaborative short plays, poets Jon Cone and Rauan Klassnik introduce us to Pog & Gomey—a Waiting for Godot-esque pair for the new millennium. Except our friends aren't waiting for anyone in particular—they might not even be friends. They're just stuck with each other. But the globe keeps spinning. And an audience has come to watch.

“I told you how I blamed you for so much,
your fist blooming into a prismed silence, a spectral call
for quiet, cheering from the chorus as your fist anoints
liquid mercury to my lips, the sign to all that I have
succumbed to your weight, wordless.

Brother, if you called for purple, I would give you amethyst
from my mouth; if blue, water and a sail.”

Guided by Dante, Freud, and a pantheon of other literary and mythical figures, Justin Limoli travels to hell and back in this new play about brotherhood, loss, and what it means to keep writing when all you write about is grief. A stand-alone work as well as a follow-up to Bloodletting in Minor Scales [A Canvas in Arms.], Limoli's latest blurs the intersection of play and poetry even further, creating something both beautiful and wholly unique in the process.

La Guía de campo de iLANDing contiene 75 partituras para la investigación de espacios urbanos que fueron desarrolladas a lo largo de diez años por el Laboratorio Interdisciplinario de Arte, Naturaleza y Danza. En estos laboratorios, artistas y científicos generaban metodologías híbridas para un acercamiento a la ecología urbana fundamentado en la danza y diseñado para cualquiera que desee experimentar la incursión de la naturaleza en la ciudad o descentrar los métodos antropocéntricos habituales de navegar por el mundo. Lleva una introducción de la fundadora de iLAND, Jennifer Monson.

In the plays collected here—Ramp and Mushroom—Pulitzer Prize finalist Eisa Davis mingles modes of myth and speculation, documentary and fiction in two plays about family, desire, restorative justice, ecological sustainability, and immigration amongst the working class. Ramp adapts the foundational Egyption saga of Isis / Osiris and sets on a near-future airline ramp, where siblings Isis, Osiris, Seth, and Nepthys throw luggage on planes and bicker about our thorny, precipitate futurity: should change be fast or gradual? Can the ecological revolution we require for survival produce ease and peace if it’s rooted in violence? Is the path to utopia brutal? Must it be? Mushroom centers on the lives, loves, and working conditions of the Mexican and Central American mushroom-pickers in and around the town of Kennett Square, Pennsylvania, where over 40% of all the mushrooms we eat in this country come from. Through a series of intersecting narratives traversed by English, Spanish, K'iche' and Malayalam speakers, Mushroom considers a workplace dispute that has serious ramifications for multiple immigrant families, mapping how compassion and justice might intersect.

In a roving, shimmering conversation that took place in May 2021, scholar, poet, and activist Alexis Pauline Gumbs and playwright, songwriter, performance artist, and educator Daniel Alexander Jones discuss love as a foundational principle of artistic practice and societal change. Reflecting on Love Like Light, Daniel Alexander Jones's collection of seven plays and performance texts (published by 53rd State in July 2021), DAJ and APG illuminate the ways in which an attention to care, community, nuance, invitation, perceptual particularities, and embodied conditions can resist the profoundly extractive context in which life is lived and art is made. As they discuss the work of Audre Lorde, Billie Holiday, Beah Richards, Bayard Rustin, and Malcolm X, as well as that of DAJ's grandma Daisy Mae and APG's grandmother, aunt, and niece, DAJ and APG propose that love, like light, suffuses everything, and that love, like light, creates a field in which transformation, justice, healing, and radical beauty are not just possible—they are already, now.

A Discourse on Method is a paranoid theory and a counterfactual history of American method acting, conducted in two parts. The first is Shonni Enelow’s account of a journey into the churning guts of the Method archives; the second is David Levine’s monologue Edition of Eight, delivered by an artificial human. Illustrated throughout with spiritual, conspiratorial, and documentary images.

“In the Bright Future, the environmental rampage will have ended, amnesty will be given to all those who return to their senses, and it will be said, ‘We are not free yet, but we are on our way!’” On an asterism situated between two constellations in a universe not far from this one, a motley assortment of well-meaning but ineffectual people—who have been psychically kidnapped—train and prepare for the Bright Future, an almost-utopia they will eventually be deployed to enact back on planet Earth. Part boot-camp space-travel memoir, part how-to manual for the construction of a paradise, The People’s Republic of Valerie, Living Room Edition is an attempt to transform feelings of despair, grief, and rage into something of value, into positive action, into something of beauty that might uplift and create space and occasion for imagination and community.

Each edition of the Occasional invites a guest editor to talk with artists, thinkers and members of our community about questions that we have and topics that move us. For the second issue, we invited playwright Will Arbery to do the asking, and in turn he invited Alex Borinsky, Matty Davis, Masuq Mushtaq Deen, Corinne Donly, David Greenspan, Phillip Howze, Julia Jarcho, Modesto Flako Jimenez, Mia Katigbak, MJ KAufman, Kristine Haruna Lee, Sofya Levitsky-Weitz, Daaimah Mubashshir, Rachel Kauder Nalebuff, Zach Rufa, Caitlin Ryan O'Connell, Ren Dara Santiago, Celine Song, Jordan Tannahill, Kate Tarker, Alice Tuan, Korde Arrington Tuttle, and Madeline Wise to consider the notion of "invitation."